The Bay Area's Blues Guitar Aficionado David M'ore Releases New Album Nov. 2015

The Bay Area's Blues Rock Guitar Aficionado David M'ore to Release New Album Nov. 2015 

 

"Passion, Soul & Fire"  

 

 

David M'ore

 

"High Octane Blues Rock that smolders with salacious bass grooves and really irresistible beats... Add a few portions of electrified sexually-fueled rhythm and blues with some smokin' guitar licks that spellbind the mind all the while creating mesmerizing sounds of Classic Rock. M'ore's throaty vocals reminisce of great soulful rock legends ala Billy Gibbons, Joe Cocker, Warren Haynes, and Ritchie Havens.

 

San Francisco, CA. - San Francisco's intrinsic Bluesman Guitarist David M'ore is thrilled to announce the release of his New Album "Passion, Soul and Fire" Coming Soon... 

 

A mystical guitar man from a bygone era, David M’ore arrived to L.A in the early 90’s committed to alter the musical scene. Club goers and musicians begin to talk about the new kid with the virtuoso aggressive guitar style, raspy vocals, and his high energy fueled Blues-Rock tunes.

 

David M’ore managed to take his guitar pyrotechnics to a different level of instrumental majesty. Performing on a custom made Strat carefully modified to his specs, M’ore demonstrates his acclaimed six string technique on both originals and cover tunes. “I love to pay tribute to those who influenced me. But at the same time I like to be true to who I am,” says M’ore, whose influences include Hendrix, Blackmore, Satriani, J. Winter, Gary Moore, Albert King, and other guitar monsters.

 

From the beginning, traditional Blues and British Neoclassical Hard Rock played a very important role in the evolution of David M’ore style.

 

Born in Argentina, he picked up an old guitar that his godfather bought him for his eighth birthday and immediately began to explore vintage records. “The aggressive sound of the guitar drove me emotionally insane,” David says. “I still listen to those old records from Johnny Winter. That’s where it all began." 

 

A born troubadour, Mr. M’ore moved frequently around the world as well as in the U.S.A before finally settling in Hollywood in 1990. After the separation of his band “Blind Hole” and refusing to accept the change of the grunge movement, he escaped to Sacramento in 1993 where he obtained a music award.

 

If you're a fan of excellent guitar playing, enjoy hard rock that strays towards the blues rather than heavy metal, then you'll cherish David M'ore's expressive and explosive guitar attack. David gives plenty of workout to his vibrato bar, and wah-wah with excellent results. If you are looking for Passion, Soul, and Fire this is it! David M'ore, a man and his guitar. Today you can hear his chops in the San Francisco area with his band.

 

 

A mystical Blues guitar player with virtuoso aggressive guitar style, raspy vocals, and his high energy fueled Blues

~ Rock tunes.

 

Low Rider ain't got nuthin' on this baby... tres hombres y'awl!!!"

~ Scott Thomas Editor Guitarz Forever.com

 

Hear the music from his last release:

"From the Other Side of the River"

via

Reverbnation (Streaming Music)

Web: 

Official Website

Facebook  

twitter 

 

YouTube: 

From The Other Side of The River

http://bit.ly/1hZ9Jn7

Going High
http://bit.ly/1UCv8V2

Right Back on You
http://bit.ly/1OAzeGe

The  Sun Ain't Shininghttp://bit.ly/1Q29kvq

Dickey Betts - Winterland San Francisco, CA 12/14/1974 - Stilladog - Guest Reviewer

Dickey Betts - guitar, dobro, vocals
Jeff Hanna - guitar
Spooner Oldham - organ
Vassar Clements - violin
John Hughey - pedal steel guitar
Oscar Underwood Adams - mandolin
Stray Straton - bass, vocals
Bonnie Bramlett - vocals, percussion
Jerry Jumonville - alto sax
David Walshaw - drums, percussion
Jerry Thompson - drums
Leon Poindexter - acoustic guitar
Walter Poindexter - banjo
Frank Poindexter - dobro

 By 1974, in large part due to Dickey Betts, Capricorn Records and the Allman Brothers Band were experiencing a success more lucrative than anyone could have dreamed. Betts, as a result, found himself free to pursue almost anything he desired musically, without having to worry about finances in the least. The situation allowed him to record his first solo album, Highway Call, and to perform with countless great musicians for the pure joy of playing, without any expectations of making money in the process. Over the course of the previous year, Betts had found a true, authentic voice, and had begun to distinguish himself within the ABB as a unique stylist, blending his love for country, bluegrass, western swing, jazz and rock into a style utterly his own - and one that would soon prove highly influential on all the Southern Rock bands that followed in the Allman Brothers' wake.

Betts’ Great American Music Show featured many of the players from his solo album, including the greatest fiddle player of his generation, Vassar Clements. Both the Poindexters and the legendary Spooner Oldham were also on board, and all these musicians combined to create a show that authentically traced the history of American music. 

Betts begins this Winterland show by showcasing his more acoustic side, with plenty of tight harmonies, sweet picking and relaxed communication between the musicians. Several of the best new songs from Betts’ solo effort are included, including "Rain," "Long Time Gone" and the superb "Hand Picked." The classic instrumental "Hideaway," as well as Allman Brothers' favorites "Blue Sky" and "Southbound," are given this new treatment with great success. Betts, Clements and the Poindexters then venture into historic American music and straight bluegrass for half a dozen songs, beginning with vintage material like "Old Joe Clark" and "Salty Dog," and closing with Vassar Clements raising the roof on "Orange Blossom Special." 

The set's closer, for which the ensemble goes electric, is perhaps its most interesting and exciting moment. This 40 minute version of "Elizabeth Reed" has to be one of the most expansive versions ever played, and is almost beyond description. Everyone in the ensemble gets several chances to shine on this unbelievable jam. All the elements that influence Betts’ music are represented, from jazz to rock to bluegrass and back. This version literally has it all, and stays amazingly cohesive and inspired throughout. The audience demands more, and the band returns for an encore consisting of the obligatory "Ramblin Man" followed by another of Betts’ most requested numbers, "Jessica." This lovely instrumental showcases the inventive playing of this large ensemble, and ventures into new areas only hinted at in versions with the Allman Brothers.
This is one of the finest examples recorded of musicians playing for the sheer joy of music, with no egos or financial concerns getting in the way. Touring this type of show was destined to be a monstrous undertaking - and ultimately a financial disaster - but thankfully, for a brief time in 1974, none of that seemed to matter.

Introduction / Rain 4:58
Blue Sky 11:05
Hide Away 9:11
Hand Picked 13:54
Long Time Gone 5:32
Southbound 9:06
Old Joe Clark 1:47
Salty Dog Blues 3:13
Carolina 2:24
Rollin' In My Sweet Baby’s Arms 3:29
Hard Time Blues 4:05
Orange Blossom Special 3:08
In Memory Of Elizabeth Reed 41:19
Ramblin' Man 7:59
Jessica 12:16 

If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

 

Allen Vega & the Hurricanes

Allen grew up in the San Francisco Bay Area, and first started playing guitar at age 15. As a teen, Allen was greatly influenced by his musically talented family, which includes his uncle, Grammy winner, Gold album recipient and West Coast Blues Hall of Fame inductee (Guitarist) David "Dynamite" Vega of Graham Central Station fame. Soon Allen developed a powerful blues guitar style, and began appearing at Bay Area jam nights. At age eighteen Allen joined his first professional band, Jack Rudy and The Blues Voodoo's playing throughout Northern California. They won the west coast "Best Unsigned Band" contest at JJ's Blues in Mountain View. Allen began making a name for himself within the local blues scene while with the Blues Voodoo's In 1987 Allen formed Smokin' Gun, a powerful blues trio. Smokin' Gun went on to win BAM (Bay Area Music) Magazine's Battle of the Bands, being chosen over 50 other bands. This win led them to opening for such acts as Elvin Bishop, Joe Louis Walker, Edgar Winter, Leon Russell, Lowell Fulson, Lenny Williams, J.J. Malone, Cool Papa, and many others. In 1993 Allen joined with Frankie Lee (a.k.a. Little Frankie Lee), a noted San Francisco Bay Area soul and blues artist on the road. As bandleader and music director for the Frankie Lee Band, he showed his capacity as he played his way criss-crossing the United States and Canada for five years. He not only showcased his powerful lead work, but he showed his sensitivity while backing a singer and provided leadership while maintaining a high standard of musicianship. Allen's powerful show openers and endless energy-packed finales caught the attention of many. His showmanship, stage presence, and his playing ability reflect the influences of Albert Collins, Albert King and Freddie King. While with Frankie Lee, Vega shared the bill with such fabulous acts as Bobby "Blue" Bland, Etta James, Buddy Guy, Bobby Murray, Sonny Rhodes, Lucky Peterson, Luther Allison, Kenny Neil, Coco Montoya and many others. He played such venues as Antone's, House of Blues, Buddy Guy's Legends, Morganfield's, B.B. King's, and many many festivals, including the Monterey Bay Blues Festival and Portland's waterfront Blues festival performing for crowds of over 40,000 people. In late 1997 Vega left the Frankie Lee Band to develop and present his own music as singer, songwriter and guitarist. Appearing at local Bay Area blues clubs. Allen was also regularly working and recording with Bay Area Blues Legend, J.J. Malone. After touring for nearly ten years Allen settled in Livermore California with his wife to raise their family only performing at private events and local clubs. For the past couple of years Allen has teamed up with world renowned recording artist Big Cat Tolefree and has been tearing up the Blues scene performing at most of the major festivals and venues throughout California and even opening for the Legendary B.B. King at the Paramount Theater in Oakland, Ca on 11/23/11. Allen's passion for the blues proved too powerful for him to hold back. Recently Vega formed a powerful cast of musicians portraying Allen's excitement for the blues, bringing back energy and tunes that have not been played for years. Allen has recently released a long awaited for album titled "Rough Cut" and is also featured on Big Cat Tolefree's album titled "Family Reunion" which is being released very soon!! Allen and Tolefree will once again be expanding their playground to include the States, Canada, Europe and wherever Blues Festivals may lead them.  
 
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Auburn Sky Records artists: Matt Baxter and Jake Sampson - Haunted - New release Review

I just received the new release, Haunted, from Matt Baxter and Jake Sampson and it really hits the spot! Opening with Someday, an old delta blues track written now. Baxter wastes no time at all demonstrating his ability to play beautiful delta riffs and Sampson has on of those voices that are made to sing the delta blues. Dusty Mule is an exceptional track with Sampson clearly demonstrating a pure love for early JL Hooker music. Rarely do I hear anyone even trying to emulate the master on vocals and Sampson has a clear command of what it takes to make it his own. Baxter know exactly what to do with his guitar and with authenticity. Jaime Lynn has a bit more of a country blues sound with sliding accent notes and melody lines. This is really Baxter's turn to shine and he does a nice job. Same Old Pain is another cool delta track sung in a story telling manner and with odd Hooker timing. I love it! Don't It Make You Feel Good, takes an entirely different turn with a Latin rhythm and with the addition of Tony Coleman on drums and Dave Pellicciaro on B3. This is a very strong track with the warmth of a smooth jazz track and Baxter plays lush electric guitar riffs to compliment Sampson's voice. Little Girl Gone is a very bold electric blues track and possibly the best track on the release. I love both the vocal and guitar treatment of this track. Excellent! Take Me Back Home, another track that has strong Hooker influences stirs some really slick guitar riffs against Sampson's vocals and is complimented nicely by Simon Russell on Piano. The release is completed by Highway 54, a broke down blues track with earthy vocals and warm guitar riffs. This is a real nice mostly acoustic blues release with some really great tracks. There are some clear influences by the blues fathers and that is really strongly handled. I actually prefer modern interpretations of older players to some of the work done trying to modernize the real players in a crafty fashion. This is a release that is deserving of a good long listen.  

If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

 

Real Gone Music - Dick's Pick Volume 25 - The Grateful Dead

Real Gone Music has got another gem here with the re release of The Grateful Dead's Dick's Pick Volume 25. This four CD (HDCD) set includes classic concert recordings from the Veterans Memorial Coliseum in New Haven, CT on May 10, 1978 and the Springfield Civic Center in Springfield, MA on May 11, 1978. Consisting of 35 extended tracks, these recordings are certainly for GD/jam connoisseurs but even for your average music listeners there are some real gems here. The Dick's Picks series which started in 1993 was named for Grateful Dead Dick Latvala who selected shows with the band's approval and oversaw production of the releases. After Latvala's death David Lemieux took over responsibility for the Dick's Picks releases. Some of my favorite tracks on this super deluxe set are Ramble On Rose, Deal, Estimated Profit and Eyes Of the World from the New Haven Show but not to miss extensive jamming on Drums, The Other One and Wharf Rat are also sure to be favorites to Deadheads. (Mickey Hart fans should be in Heaven). In the Springfield set my particular favorites are Looks Like Rain, Loser, New Minglewood Blues, Supplication, Not Fade Away and I gotta comment on the wild guitar solo on Werewolves of London...just a blast. This set is jammed with jam and is bound to be a favorite set. Finishing with Johnny B. Goode you are left wanting even more. OK Deadheads... it's here!

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band! This is not a track from this concert but I hate making a post without a video...so here is the Dead!

Everyday I have the Blues - Hi Tide Harris

b. 26 March 1946, San Francisco, California, USA. His real name was reportedly Willie Boyd or Willie Gitry. He was brought up in Richmond, California, and sang in vocal groups as a youngster; he also learned to play guitar in the early 60s, going on to play with Big Mama Thornton, Jimmy McCracklin, and others (he also recorded with McCracklin). Following a spell in Los Angeles (1969-1971), he formed his own band around 1972. In 1973 he joined Charlie Musselwhite’s band, and the following year he toured and recorded with John Mayall. Harris was also involved in film work: he wrote the theme song for Mandingo (sung by Muddy Waters) and sang on the soundtrack of Leadbelly. Harris was ‘an excellent guitarist in both the slide and regular fingerstyles’ (Blues Unlimited).

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Blue Dot Records artists: Frank Bey with the Anthony Paule Band - You Don't Know Nothing - New release Review

I just received a copy of the newest release, You Don't Know Nothing, by Frank Bey with the Anthony Paule Band. This release was recorded live in San Francisco and I have to say the people who saw this show got an ear full! Bey has a very solid soul style to his blues and this band is absolute killer! The recording opens with the title track, You Don't Know Nothing About Love which is a smokin' soul track. Bey is a great showman and Anthony Paule wastes no time in showing that he can really make his guitar sweat. Not only beautifully bluesy riffs but great filler riffs giving nice texture...and with great tone. Backed by a stellar band including Tony Lufrano on Keys, Paul Olguin on bass, Mike Rinta on Trombone, Paul Revelli on drums, Nancy Wright on Sax and Steffen Kuehn on trumpet. Yes, Bey is the star of this show and a mighty strong singer he is but take nothing at all from the great horn backing on this set. On Ain't That Lovin' You, Paule shows his jazz chops integrating style and technique for a really nice spotlight. On John Lennon's Imagine, Bey gives a somewhat "sacred cow" a very proper cover. Paule, Lufrano and Wright take an absolutely blistering solo interlude on this track making it particularly interesting. The band does a very clean cover of Town Without Pity led by Paule and before you start thinking, Montrose... no. This is done more in a Les Paul style with a lot of 50's feel. It is actually quite cool but then... Wright steps in with "the beef" on the sax and Paule plays counterpoint on the guitar making the entire track quite memorable. Again on Still Called The Blues, a funky Albert King like track, Wright really steps it up and if you love sax... and I mean down and nasty grab you by the short hairs sax..this is it! I also gotta say Rinta plays one of the hottest trombone solos I've heard on CD this year! Paule original, Can't get The Time Of Day, gives Paule a great chance to step out swing style and some nice swing articulated guitar he does. Paule also takes the vocal lead on this track and the horn section comes forward in the mix a bit but when they break loose, Wright is on the trigger again...Stilladog...you listening? This lady is really hot.... I mean don't get close to the brass! Paule rips some really nice riffs on this track as well even squeezing some chickin' pickin' in there! Real tasty! Bey takes on Ray Charles' Hard Times and although not Ray Charles, he does a really sweet job. Wright takes over where Bey leaves off and man can she carry the load. This is some of the most soulful sax on any blues CD to reach my desk in quite some time. This is a really hot set instrumentally as you can tell and Bey really sets the tempo. On You've Got To Hurt Before You Heal, Bey brings is back to solid soulville and give Wright and Paule each a chance to show their gold one last time. Although primarily a ballad track showcasing the strong vocal efforts of Bey, Lufrano really pulls the track together on organ and Wright and Paule each get one last chance to shine. This was a show not to miss and I'm happy to have had the opportunity to listen to it today.

If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Reference Recordings Signs Blues-Roots Singer-Songwriter Doug MacLeod & Will Release His Label Debut, "There's a Time," on March 12

Reference Recordings Signs Blues/Roots

Singer-Songwriter Doug MacLeod

Label Debut Album, There’s a Time,

Set for Release March 12

SAN FRANCISCO, CA -   Reference Recordings announces the signing of blues/roots singer-songwriter Doug MacLeod, and a March 12 release date for his label debut album, There’s a Time. Produced by Doug MacLeod and Janice Mancuso and recorded at Skywalker Sound, the “baker’s dozen” tracks on There’s a Time showcase his soulful vocals and trademark guitar sound backed by Denny Croy on bass and Jimi Bott on drums. Acclaimed for their quality audio recordings, Reference will also release the new album on a 200-gram vinyl two-LP set, half-speed mastered and pressed at Quality Record Pressings (QRP), as well as on CD.

“Making this album was different than any other one I’ve done in the past,” recalls MacLeod about the sessions. “They put Jimi, Denny and me on this huge soundstage at Skywalker Sound in Marin County and we sat around in a circle where we could see each other. We played live, no overdubs, just three guys playing some music together.

“Simply put, Jimi and Denny are two of the finest musicians I have ever had the pleasure to make music with. I’ve been known to change arrangements on the spot: add a bar here, take away a bar there. I go with the feeling of the moment. Both Jimi and Denny have this uncanny ability to follow that - even under what could have been pressure circumstances for other musicians.”

A perennial Blues Music Award nominee, MacLeod is currently nominated for “Acoustic Artist of the Year.” Doug is a throwback musician in the great tradition of the traveling bluesman from the genre’s classic era, having apprenticed with some of the best as a sideman with such legends as Big Joe Turner, Pee Wee Crayton, Eddie “Cleanhead” Vinson, Big Mama Thornton and George “Harmonica” Smith. During that time, he developed his unique, unorthodox and powerfully rhythmic acoustic guitar style, which he puts to great use on There’s a Time playing on a variety of guitars with such pet names as “Moon” (a National M-1 Tricone), “Little Bit” (a Gibson C-100 FE) and “Owl” (a National Style “O”), plus a National El Trovador 12-String.

The other element of Doug’s style is his remarkable ability as a storyteller, another trademark of the classic itinerant blues musician. Listening to the songs on There’s a Time is like attending a master class on storytelling, as MacLeod weaves tales that are visceral, insightful and often humorous (as on the songs, “My In-laws Are Outlaws,” “St Elmo’s Rooms and Pool” and “Dubb’s Talkin’ Religion Blues”).

Like the old masters who taught him, MacLeod’s songs are based primarily on his own life and experiences, instilled with the spirit one particular influential bluesman once told him: “Never play a note you don’t believe, and never write or sing about what you don’t know.”

“If you’re speaking honestly, then I believe you’re coming from your heart,” MacLeod says. “And if you’re coming from the heart, then I believe your chances of getting to another heart are real good. If you can get to the heart, then you can get to the soul, and I think that’s where songs like to live.”

In a career that spans over 30 years, Doug MacLeod has recorded 19 studio albums, several live records, compilations, a blues guitar instructional DVD and a live performance DVD. His songs have been covered by such artists as Albert King, Albert Collins, Joe Louis Walker and Eva Cassidy. Two of his songs were on Grammy-nominated albums by King and Collins.  He’s co-written tunes with Dave Alvin and Coco Montoya, and his songs have been featured in many TV movies, as well as the hit TV series, “In the Heat of the Night.”

From 1999 to 2004, Doug hosted “Nothin’ but the Blues,” a very popular weekend blues radio show on Los Angeles’ KLON-KKJZ. He has also been the voice for “The Blues Showcase” on Continental Airlines and contributed his soulful slide guitar playing to the Los Angeles opening of the August Wilson play, “Gem of the Ocean.” For 10 years, he penned “Doug’s Back Porch,” a regular feature column in Blues Revue, in which he shared his humorous and insightful stories with the magazine’s readers. In 1997, he won the Golden Note Award for his Audioquest Music album, You Can’t Take My Blues; and in 2006 Solid Air/Warner Bros. released Doug’s guitar instructional DVD, 101 Blues Guitar Essentials.